Michael-If the Adams', Westons, and Bressons, of the world don't bat 1000, neither will any of us...
I do what Thomas does- Diana/Holga... whatever frees me up.
The important thing is to not let the paralysis set in. Keep shooting. What got me out of my last bout with "photo paralysis" was the realization that I could learn as much (if not more) from my stinkers, than from my winners.

"I only wanted Uncle Vern standing by his new car (a Hudson) on a clear day. I got him and the car. I also got a bit of Aunt Mary's laundry, and Beau Jack, the dog, peeing on a fence, and a row of potted tuberous begonias on the porch and 78 trees and a million pebbles in the driveway and more. It's a generous medium, photography." -- Lee Friedlander

I work at a university art department that teaches photography and digital imaging. In the computer lab, I've seen students working in Photoshop working and reworking images until they are "perfect". The students fear failure, flaws and ugliness to the point of not taking chances. Art requires risk which means accepting imperfection what ever imperfect means. Some obsess so much that they work on only a few images all quarter long. Being in a media saturated world with Victoria's Secret's model appearing flawless in the catalog tweaks our perceptions. How about TV with all those beautiful people and those beautiful houses. For you to accept yourself and a world of imperfections, turn off the TV. Seek the perfect flaw. We all can't be George Clooney nor Heidi Klum.

...I have become increasingly hypercritical of anything I look it, regardless of the name behind it. Every last flaw or detail out of place bothers me. What I now find is I can no longer easily answer the question "who are your favourite photographers?"

I think this sums it up... you're not enjoying photography!

One can't make good art if one does not enjoy good art. Or to say it another way... you can't be creative if all you think is destructive.

The subject is all that matters, not the technical details. I believe the purpose of photography is to put you in a different place in time. If we're put somewhere uninteresting, we have to critique what we're left with.

I think you're not seeing the forest through the trees. If you want perfection, pick up a paint brush.

Holmburgers, interesting you say that. I also paint, and have always had similar issues there, although it's not exactly the same.

I am still enjoying photography. The excitement of seeing something you want to make a photo of, picturing the final print etc is still there. It has just become harder for me to move on from a particular idea. Part of the problem is alot of my subject matter is near to where I live. So I make the picture, but each time I drive by that location I can't help thinking things like "hmm, maybe with today's lighting the conditions are better than when I originally made the picture", or "hey now that it's November there are no distracting weeds sticking up through the sidewalk, I should redo the photo now". This is dangerous thinking because it makes you want to fix things all the time.

As for being very critical of the work of great photographers, this I am more comfortable with. I think it is ok. I now prefer to think of myself as a fan of particular images and prints rather than having to say I like x photographer or y photographer, although obviously there are certain photographers who have produced more work that resonates with me.

Actually, having looked at your gallery now, your comments make a lot more sense.

Your pictures look like tuxedos, folded napkins, or Bauhus architecture and Lissitzky drawings (none of which are criticisms). The geometric nature and structure of them does indeed not look condusive to deviations.

However, I think that elements of chance & assymetry would actually be incredibly interesting in the context of your pictures... to contrast the "chaos" of nature against man's perfect manipulations in steel, stone & timber.

I am sometimes the opposite, and sometimes almost-perfectionist, returning again for better light or situations. That's OK to keep coming back for more and better. I pick nearby subjects though.

I like the holga suggestion. Some alt process or soft focus lenses might get you less paralyzed and more creative too. Frederick Evans did some nice pictorialism architecture and that would get you away from the detail oriented process. The alt process part would make the medium an integral part of your work, making you a craftsman as well as someone able to capture images on film.